Best 357 quotes in «narrative quotes» category

She noticed the lemony yellow light in her dream and heard nothing of her alarm clock so continued to dream and dreamt of Jamestown and the sound of the foghorns over the water and the gulls and every night that was the breath of the day before.

Si Julián hubiera empleado en examinar lo que pasaba en el salón el tiempo que ponía en exagerar la belleza de Matilde o en apasionarse pensando en la altivez natural de su familia, a la que ella olvidaba por él, hubiera comprendido en qué consistía su poder sobre todo el que la rodeaba. - Capítulo XI

So little of the world makes sense. It’s only that most people either construct a narrative in which it does or try to ignore it.

Stories are "how we organize the chaos of experience into the order we require just a carry-on." Joan Gideon

Some may remain imprisoned in a gridlock of lies or keep on blurring the lines between facts and fables, expecting us to buy the debilitating and fake narrative of their life, until they eventually end up on the chopping block of the inexorable truth. Be that as it may, one can “fool people some of the time, but not all of the time”. (“Bribe payers' index »)

So often fictions that experiment formally do so at the expense of feeling. They toy on surfaces or are purely cerebral affairs, don’t explore human complexities. But the mostly unconventional narratives I’ve been discussing have dealt powerfully with core human matters. … And they have found patterns other than the wave to do this, or worked in a doubled, moiré relation with the wave, one pattern upon another. I believe they’ve done this organically: a meander or net or explosion was simply the pattern the material needed.

Stories were heirlooms in these parts.

Story should be a descent -- the feeling that there is an intense gravity to the narrative that draws you down, down, down.

The novel is the privileged vehicle of two ways of being: narrative and freedom: to be new (novel) in a speech open to all, and to be free in a speech that never concludes.

Telling a story is not like weaving a tapestry to cover up the world, it is rather a way of guiding attention of listeners or readers into it.

That thing we call a place is the intersection of many changing forces passing through, whirling around, mixing, dissolving, and exploding in a fixed location. To write about a place is to acknowledge that phenomena often treated separately—ecology, democracy, culture, storytelling, urban design, individual life histories and collective endeavors—coexist. They coexist geographically, spatially, in place, and to understand a place is to engage with braided narratives and sue generous explorations.

The ability to see our lives as stories and share those stories with others is at the core of what it means to be human. We use stories to order and make sense of our lives, to define who we are, even to construct our realities: this happened, then this happened, then this. I was, I am, I will be. We recount our dreams, narrate our days and organize our memories into stories we tell others and ourselves. As natural-born storytellers, we respond to others’ stories because they are deeply, intimately familiar.

The baby explodes into an unknown world that is only knowable through some kind of a story - of course that is how we all live, it's the narrative of our lives, but adoption drops you into the story after it has started. It's like reading a book with the first few pages missing. It's like arriving after curtain up. The feeling that something is missing never, ever leaves you - and it can't, and it shouldn't, because something IS missing. That isn't of its nature negative. The missing part, the missing past, can be an opening, not a void. It can be an entry as well as an exit. It is the fossil record, the imprint of another life, and although you can never have that life, your fingers trace the space where it might have been, and your fingers learn a kind of Braille.

The Christian story, centered as it is on the death and Resurrection of Jesus Christ, is the only story for making sense of desire and loss.

The Legend of Robert Halsey This article examines the criminal conviction of Robert Halsey for sexually abusing two young boys on his school-van route near Pittsfield, Massachusetts. Mr. Halsey's name has been invoked by academics, journalists, and activists as the victim of the “witch hunt” in this country over child sexual abuse. Based on a comprehensive examination of the trial transcript, this article details the overwhelming evidence of guilt against Mr. Halsey. The credulous acceptance of the “false conviction” legend about Robert Halsey provides a case study in the techniques and tactics used to minimize and deny sexual abuse, while promoting a narrative about “ritual abuse” and “witch hunts” that apparently requires little or no factual basis. The second part of this article analyzes how the erroneous “false conviction” narrative about Robert Halsey was constructed and how it gained widespread acceptance. The Legend of Robert Halsey provides a cautionary tale about how easy it is to wrap even the guiltiest person in a cloak of righteous “witch hunt” claims. Cases identified as “false convictions” by defense lawyers and political activists deserve far greater scrutiny from the media and the public. journal: Cheit, Ross E. "The Legend of Robert Halsey." Journal of child sexual abuse 9.3-4 (2002): 37-52.

The lively oral storytelling scene in Scots and Gaelic spills over into the majority English-speaking culture, imbuing it with a strong sense of narrative drive that is essential to the modern novel, screenplay and even non-fiction.

Tell someone to do something, and you change their life–for a day; tell someone a story and you change their life.

The Bible provocatively evokes desire.

The book argues that even though many cases have been held up as classic examples of modern American “witch hunts,” none of them fits that description. McMartin certainly comes close. But a careful examination of the evidence presented at trial demonstrates why, in my view, a reasonable juror could vote for conviction, as many did in this case. Other cases that have been painted as witch-hunts turn out to involve significant, even overwhelming, evidence of guilt. There are a few cases to the contrary, but even those are more complicated than the witch-hunt narrative allows. In short, there was not, by any reasonable measure, an epidemic of “witch hunts” in the 1980s. There were big mistakes made in how some cases were handled, particularly in the earliest years. But even in those years there were cases such as those of Frank Fuster and Kelly Michaels that, I believe, were based on substantial evidence but later unfairly maligned as having no evidentiary support.

The Buried Bishop’s a gridlocked scrum, an all-you-can-eat of youth: ‘Stephen Hawking and the Dalai Lama, right; they posit a unified truth’; short denim skirts, Gap and Next shirts, Kurt Cobain cardigans, black Levi’s; ‘Did you see that oversexed pig by the loos, undressing me with his eyes?’; that song by the Pogues and Kirsty MacColl booms in my diaphragm and knees; ‘Like, my only charity shop bargains were headlice, scabies, and fleas’; a fug of hairspray, sweat and Lynx, Chanel No. 5, and smoke; well-tended teeth with zero fillings, revealed by the so-so joke — ‘Have you heard the news about Schrodinger’s Cat? It died today; wait — it didn’t, did, didn’t, did…’; high-volume discourse on who’s the best Bond … Sartre, Bart Simpson, Barthes’s myths; ‘Make mine a double’; George Michael’s stubble; ‘Like, music expired with the Smiths’; and futures all starry; fetal think-tankers, judges, and bankers…power and money, like Pooh Bear and honey, stick fast — I don’t knock it, it’s me; and speaking of loins, ‘Has anyone told you you look like Demi Moore from Ghost?’; roses are red and violets are blue, I’ve a surplus of butter and Ness is warm toast.

The narrative illusion introduces a “mind virus”, which is a syntactical contagion that spreads through communicative vectors and colonizes the cognitive biases of the targeted individual’s psychology, thus transforming the mental processes of that target.

The opposite of a correct statement is an incorrect statement. The opposite of a profound truth is another profound truth (Niels Bohr)." By this, he means that we require a larger reading of the human past, of our relations with each other, the universe and God, a retelling of our older tales to encompass many truths and to let us grow with change.

The pleasure of this kind of narrative is not that we think we are reading about the real world (although the story usually does map onto our world fairly closely), but rather that the wings of symmetry are unfolding around us; briefly we are on a planet where, as E.M. Forster says, there are no secrets and human behavior makes sense. I call this 'fiction.

The press-savy Lincoln looked not to the future, but to the past.

The power of music, narrative and drama is of the greatest practical and theoretical importance. One may see this even in the case of idiots, with IQs below 20 and the extremest motor incompetence and bewilderment. Their uncouth movements may disappear in a moment with music and dancing—suddenly, with music, they know how to move. We see how the retarded, unable to perform fairly simple tasks involving perhaps four or five movements or procedures in sequence, can do these perfectly if they work to music—the sequence of movements they cannot hold as schemes being perfectly holdable as music, i.e. embedded in music. The same may be seen, very dramatically, in patients with severe frontal lobe damage and apraxia—an inability to do things, to retain the simplest motor sequences and programmes, even to walk, despite perfectly preserved intelligence in all other ways. This procedural defect, or motor idiocy, as one might call it, which completely defeats any ordinary system of rehabilitative instruction, vanishes at once if music is the instructor. All this, no doubt, is the rationale, or one of the rationales, of work songs.

The stars are brilliant at this time of night and I wander these streets like a ritual I don’t dare to break for darling, the times are quite glorious. I left him by the water’s edge, still waving long after the ship was gone and if someone would have screamed my name I wouldn’t have heard for I’ve said goodbye so many times in my short life that farewells are a muscular task and I’ve taught them well. There’s a place by the side of the railway near the lake where I grew up and I used to go there to burry things and start anew. I used to go there to say goodbye. I was young and did not know many people but I had hidden things inside that I never dared to show and in silence I tried to kill them, one way or the other, leaving sin on my body scrubbing tears off with salt and I built my rituals in farewells. Endings I still cling to. So I go to the ocean to say goodbye. He left that morning, the last words still echoing in my head and though he said he’d come back one day I know a broken promise from a right one for I have used them myself and there is no coming back. Minds like ours are can’t be tamed and the price for freedom is the price we pay. I turned away from the ocean as not to fall for its plea for it used to seduce and consume me and there was this one night a few years back and I was not yet accustomed to farewells and just like now I stood waving long after the ship was gone. But I was younger then and easily fooled and the ocean was deep and dark and blue and I took my shoes off to let the water freeze my bones. I waded until I could no longer walk and it was too cold to swim but still I kept on walking at the bottom of the sea for I could not tell the difference between the ocean and the lack of someone I loved and I had not yet learned how the task of moving on is as necessary as survival. Then days passed by and I spent them with my work and now I’m writing letters I will never dare to send. But there is this one day every year or so when the burden gets too heavy and I collect my belongings I no longer need and make my way to the ocean to burn and drown and start anew and it is quite wonderful, setting fire to my chains and flames on written words and I stand there, starring deep into the heat until they’re all gone. Nothing left to hold me back. You kissed me that morning as if you’d never done it before and never would again and now I write another letter that I will never dare to send, collecting memories of loss like chains wrapped around my veins, and if you see a fire from the shore tonight it’s my chains going up in flames. The time of moon i quite glorious. We could have been so glorious.

The real protagonist of the story, however, is the magic ring, because it is the movements of the ring that determine those of the characters and because it is the ring that establishes the relationships between them. Around the magic object there forms a kind of force field that is in fact the territory of the story itself. We might say that the magic object is an outward and visible sign that reveals the connection between people or between events. . . We might even say that in a narrative any object is always magic.

There are three points about stories: if told, they like to be heard; if heard, they like to be taken in; and if taken in, they like to be told.

The stories others tell about you and the stories you tell about yourself: which come closer to the truth? Is it so clear that they are your own? Is one an authority on oneself? but that really isn't the question that concerns me. The real question is: In such stories, is there really a difference between true and false? In stories about the outside, surely. But when we set out to understand someone on the inside? Is that a trip that ever comes to an end? Is the soul a place of facts? Or are the alleged facts only the deceptive shadows of our stories?

The question of the relation between modernity and postmodernity revolves around the issue of 'legitimation.' Modernity, then, appeals to science to legitimate its claim - and by 'science' we simply mean the notion of a universal, autonomous reason. Science, then, is opposed to narrative, which attempts not to prove its claims but rather to proclaim them within a story.

The reason stories have dramatic tension is because LIFE has dramatic tension.

There isn't any particular relationship between all the messages, except that the author has chosen them carefully, so that, when seen all at once, they produce an image of life that is beautiful and surprising and deep. There is no beginning, no middle, no end, no suspense, no moral, no causes, no effects. What we love in our books are the depths of many marvelous moments seen all at once.

There will always be reservations, things one must leave out, events one can’t explain without handing over a full map of one’s life, unfolding it, making clear that all the lines and contours stand for long days and nights when things were bad or good, or when things were too small to be described at all: when things just were. This is a life.

The telling and the hearing of a story is not a simple act. The one who tells must reach down into deeper layers of the self, reviving old feelings, reviewing the past. Whatever is retrieved is reworked into a new form, one that narrates events and gives the listener a path through these events that leads to some fragment of wisdom. The one who hears takes the story in, even to a place not visible or conscious to the mind, yet there. In this inner place a story from another life suffers a subtle change. As it enters the memory of the listener it is augmented by reflection, by other memories, and even the body hearing and responding in the moment of the telling. By such transmissions, consciousness is woven.

The trouble with life (the novelist will feel) is its amorphousness, its ridiculous fluidity. Look at it: thinly plotted, largely themeless, sentimental and ineluctably trite. The dialogue is poor, or at least violently uneven. The twists are either predictable or sensationalist. And it’s always the same beginning, and the same ending.

We are all born as storytellers. Our inner voice tells the first story we ever hear.

Too bad for the storytellers. Too bad for the sense makers, the apologists, that nothing, then or ever, nothing was inevitable. It's just too bad.

Truth for anyone is a very complex thing. For a writer, what you leave out says as much as those things you include. What lies beyond the margin of the text? The photographer frames the shot; writers frame their world. Mrs Winterson objected to what I had put in, but it seemed to me that what I had left out was the story’s silent twin. There are so many things that we can’t say, because they are too painful. We hope that the things we can say will soothe the rest, or appease it in some way. Stories are compensatory. The world is unfair, unjust, unknowable, out of control. When we tell a story we exercise control, but in such a way as to leave a gap, an opening. It is a version, but never the final one. And perhaps we hope that the silences will be heard by someone else, and the story can continue, can be retold. When we write we offer the silence as much as the story. Words are the part of silence that can be spoken. Mrs Winterson would have preferred it if I had been silent. Do you remember the story of Philomel who is raped and then has her tongue ripped out by the rapist so that she can never tell? I believe in fiction and the power of stories because that way we speak in tongues. We are not silenced. All of us, when in deep trauma, find we hesitate, we stammer; there are long pauses in our speech. The thing is stuck. We get our language back through the language of others. We can turn to the poem. We can open the book. Somebody has been there for us and deep-dived the words. I needed words because unhappy families are conspiracies of silence. The one who breaks the silence is never forgiven. He or she has to learn to forgive him or herself.

Watch movies. Read screenplays. Let them be your guide. […] Yes, McKee has been able to break down how the popular screenplay has worked. He has identified key qualities that many commercially successful screenplays share, he has codified a language that has been adopted by creative executives in both film and television. So there might be something of tangible value to be gained by interacting with his material, either in book form or at one of the seminars. But for someone who wants to be an artist, a creator, an architect of an original vision, the best book to read on screenwriting is no book on screenwriting. The best seminar is no seminar at all. To me, the writer wants to get as many outside voices OUT of his/her head as possible. Experts win by getting us to be dependent on their view of the world. They win when they get to frame the discussion, when they get to tell you there’s a right way and a wrong way to think about the game, whatever the game is. Because that makes you dependent on them. If they have the secret rules, then you need them if you want to get ahead. The truth is, you don’t. If you love and want to make movies about issues of social import, get your hands on Paddy Chayefsky’s screenplay for Network. Read it. Then watch the movie. Then read it again. If you love and want to make big blockbusters that also have great artistic merit, do the same thing with Lawrence Kasdan’s Raiders Of The Lost Ark screenplay and the movie made from it. Think about how the screenplays made you feel. And how the movies built from these screenplays did or didn’t hit you the same way. […] This sounds basic, right? That’s because it is basic. And it’s true. All the information you need is the movies and screenplays you love. And in the books you’ve read and the relationships you’ve had and your ability to use those things.

We are narrative creatures, and we need narrative nourishment—narrative catechisms.

Viéndose forzado a pasar ocho días en Estrasburgo, Julián trataba de distraerse con ideas de gloria militar y de entrega a la patria. ¿Estaba enamorado? No lo sabía. Sólo sentía que su alma se atormentaba por Matilde y que ésta era dueña absoluta de su felicidad y de su imaginación.

We need to know not only what is done but what is purposed and said by those who shape the destines of states and realms." Horace Greeley

We live in a world where the criminal has become the victim, the victim the accused, the accused the guilty, the guilty the innocent and the innocent the criminal.

We have, each of us, a life-story, an inner narrative — whose continuity, whose sense, is our lives. It might be said that each of us constructs and lives, a “narrative,” and that this narrative is us, our identities. If we wish to know about a man, we ask “what is his story — his real, inmost story?” — for each of us is a biography, a story. Each of us is a singular narrative, which is constructed, continually, unconsciously, by, through, and in us — through our perceptions, our feelings, our thoughts, our actions; and, not least, our discourse, our spoken narrations. Biologically, physiologically, we are not so different from each other; historically, as narratives — we are each of us unique.

We should strive to focus our lens on what connects us as humans as opposed to our differences. In doing so, not only can we challenge the Orientalist and colonial aspects of traditional photographic narratives, but we can also create a new visual legacy marked by equitable discourse.

We think that history is created in the big things, in the big events, but history is also created in the small things that we do every day, in the personal choices we make— to think or not to think, to hold our tongues or to speak up, to act or not to act. Our actions have a ripple effect on those around us. Every time we conform or don't, we're shaping the world into our vision or someone else's vision. The universe isn't made up of atoms it's made up of stories, and these stories are shaped in college campuses and coffee houses around the country, not just in boardrooms and government buildings.

We tell ourselves our own stories, selectively, in order to keep our sense of self intact.

We want our children to know and believe the one good story. Every other story is a copy or shadow of this one. Some copies of it are quite good and shout the Truth. Others see only the faintest whisper of it, or, in its absence remind us of the Truth. We want our kids to know the one good story so well that when they see Luke Skywalker, Harry Potter, Frodo, Anne of Green Gables, Arielle, or Sleeping Beauty, they can recognize the strands of Truth and deception in them. Saturating our children in the one good story will enable them to discern Truth and error as it comes to them from the world.

We want the author to give us answers when all he can do is give us desires.

What follows is ambiguous and sometimes tortuously told. Man's searchings and his strugglings are ambiguous and vowed to hidden ways. Those who live by that dark light will understand.